The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—(🚺)as much in style as in substance—that it demands.。

出色的(de )企业举报人打算扳倒一家秘密(🥇)从事不法(fǎ )活动的公司，但(🍭)这个计划也让他身陷险境 — 因为有人雇佣了一名冷血杀手来除掉(📯)他。

让(ràng )一心想要离开的汉克没有想到的是，一(yī )场交通事故让约瑟(💟)夫卷进了一宗案情复(fù )杂(📵)的官司中，而自己在为父亲辩护的同(tóng )时(♌)，真相亦渐渐浮出水面。

下岗(🚡)警察顾(gù )致远依靠在码头接点小活来维(🚃)持他和女(nǚ )儿玲珑的生计(🥐)，这天，暴虐的河兽冲上岸肆意损毁着房屋和生命，更掳走了顾致远的(🌋)女(nǚ )儿玲珑。

一名参议员纠结于自己是否要(yào )为一项不赞同的法律(😪)投赞成票，他的良(liáng )心和他(📑)对于自己党派的忠诚让他深陷矛(máo )盾之(🎠)中。

为了对起义的死者表示(🚑)悼念，他们和同班同学们决定，一起在课堂上(shàng )无视老师，突发沉默一(🍿)分钟。

中年男子汉昌荣（黄秋生饰）因意外受伤瘫痪后妻离子散(sà(🔧)n )，他认为人生再没有值得期望的东西，而自己亦不值得拥有任何东西(🧗)。